The avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This ¿popular avant-garde,¿ conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the ¿historical¿ (¿modernist¿) and posterior avant-gardes, and sets them in relation to popular culture and art forms. With a critical introduction that examines the concepts of (...) ¿the avant-garde,¿ ¿the popular,¿ and ¿the popular avant-garde,¿ the series of essays analyzes the way in which the avant-garde employs popular genres for political purposes, as well as how the popular acquires a critical function with respect to the avant-garde. Each of the volume¿s three sections considers a different aspect of the productive exchange between the avant-garde and popular: the popular avant-garde as a culturally hybrid and cross-border phenomenon; the play between the popular avant-garde and developments in media and technology; and the popular avant-garde¿s upending of conventional ideas about ¿the people¿ and ¿the popular.¿ The Popular Avant-Garde takes a fresh look at the now canonical Dadaist, Futurist, and Surrealist movements from the perspectives of gender and sexuality, and cultural and critical theory, while at the same time exploring less well-known avant-garde work in literature, film, television, music, photography, dance, sculpture, and the graphic arts. This volume¿s coverage of the American and Afro-American, Luso-Brazilian and Latin-American, East-European, and Scandinavian avant-gardes, in addition to the vanguards of Spain and other parts of Western Europe, will appeal to all those interested in avant-garde and popular art forms. (shrink)

The chief concepts involved are those of piety and impiety, and after a thorough analysis of the philosophical texts Mikalson offers a refined definition of ...

In all societies that have arrived at a certain degree of social differentiation, there are two types of culture that may be qualified respectively as “popular” and “lettered”. Popular culture is that of the people as opposed to the dominant political and intellectual classes. The latter two may be distinct (but allied), as in ancient India with the pair Brahman-kshatriva. or mixed as in Confucian China with the bureaucracy of scholars-civil servants. The duality between the two kinds of culture may (...) become less distinct with the democratization of power and education as well as with the omnipresent symbolic universe of the media. None the less, it survives, as has been proven by all sociological research on the nature of leisure time as employed by classes in industrial societies, in the “West” and in the “East”. (shrink)

Noted logician and philosopher addresses various forms of mathematical logic, discussing both theoretical underpinnings and practical applications. After historical survey, lucid treatment of set theory, model theory, recursion theory and constructivism and proof theory. Place of problems in development of theories of logic, logic’s relationship to computer science, more. Suitable for readers at many levels of mathematical sophistication. 3 appendixes. Bibliography. 1981 edition.

The popular culture and philosophy (PCP) book publishing movement has always been about serving the public. The idea for Seinfeld and Philosophy was to explain a broad range of philosophy and philosophers in a way that anyone could understand because the examples came from a popular television show. Plenty of professors were referencing Seinfeld in the classroom to help students connect with big ideas. Seinfeld and Philosophy would spur some readers to pick up Plato or enroll in a philosophy course. (...) By applying philosophy to pop culture, authors deliver a truly novel philosophical insight into the artwork. There has never been complete uniformity in the genre of PCP, but for the most part motivations have been pedagogical. The Blackwell Philosophy and Pop Culture Series have a website with a blog that is open to submissions. The value of public philosophy in general, and PCP in particular, remains an open question at many institutions. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps, and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely (...) copy and distribute this work, as no entity has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In one of the earliest scenes in the first episode of The Good Place, the head demon, Michael, points to a picture of Doug and says that he was the person who most nearly understood what it takes to get into the Good Place, which is a point system. In addition to showing full‐blooded characters and stories and making phenomenological type arguments, a show like The Good Place can sometimes pose philosophical questions in a way that's more engaging than a (...) written text. The humor in The Good Place is often sophisticated, from jokes about The New Yorker to “Easter eggs” – those little details snuck into the background of episodes that viewers pride themselves on discovering – to philosophy jokes. Philosophical fields that are non‐normative might have a more open field in staging and investigating philosophical themes. (shrink)

Popular sovereignty is one of the most widespread but poorly understood notions in modern politics. Exalted as the highest principle of democratic legitimacy, the idea of popular sovereignty has been given various but broadly similar formulations. . . .

Digital data inundation has far-reaching implications for: disciplinary jurisdiction; the relationship between the academy, commerce and the state; and the very nature of the sociological imagination. Hitherto much of the discussion about these matters has tended to focus on ‘transactional’ data held within large and complex commercial and government databases. This emphasis has been quite understandable – such transactional data does indeed form a crucial part of the informational infrastructures that are now emerging. However, in recent years new sources of (...) data have become available that possess a rather different character. This is data generated in the cultural sphere, not only as a result of routine transactions with various digital media but also as a result of what some would want to view as a shift towards popular cultural forms dominated by processes of what has been termed prosumption. Our analytic focus here is on contemporary prosumption practices, digital technologies, the public life of data and the playful vitality of many of the ‘glossy topics’ that constitute contemporary popular culture. (shrink)

Addressing the contradictions surrounding modern-day femininity and its complicated relationship with feminism and postfeminism, this book examines a range of popular female/feminist icons and paradigms. It offers an innovative and forward-looking perspective on femininity and the modern female self.

Popular sovereignty - the doctrine that the public powers of state originate in a concessive grant of power from 'the people' - is perhaps the cardinal doctrine of modern constitutional theory, placing full constitutional authority in the people at large, rather than in the hands of judges, kings, or a political elite. Although its classic formulation is to be found in the major theoretical treatments of the modern state, such as in the treatises of Hobbes, Locke, and Rousseau, this book (...) explores the intellectual origins of this doctrine and investigates its chief source in late medieval and early modern thought. Long regarded the principal source for modern legal reasoning, Roman law had a profound impact on the major architects of popular sovereignty such as François Hotman, Jean Bodin, and Hugo Grotius. Adopting the juridical language of obligations, property, and personality as well as the model of the Roman constitution, these jurists crafted a uniform theory that located the right of sovereignty in the people at large as the legal owners of state authority. In recovering the origins of popular sovereignty, the book demonstrates the importance of the Roman law as a chief source of modern constitutional thought. (shrink)

In this unconventional article, Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg conduct a three-way ‘conversation’ in which they all take turns outlining how they understand the relationship among postfeminism, popular feminism and neoliberal feminism. It begins with a short introduction, and then Ros, Sarah and Catherine each define the term they have become associated with. This is followed by another round in which they discuss the overlaps, similarities and disjunctures among the terms, and the article ends with how each one (...) understands the current mediated feminist landscape. (shrink)

Social theory can sometimes seem as though it's speaking of a world that existed long ago, so why should we continue to study and discuss the theories of these dead white men? Can their work still inform us about the way we live today? Are they still relevant to our consumer-focused, celebrity-crazy, tattoo-friendly world? This book explains how the ideas of classical sociological theory can be understood, and applied to, everyday activities like listening to hip-hop, reading fashion magazines or watching (...) reality TV. Taking the reader through central sociological texts, Social Theory In Popular Culture explains why key theorists – from Marx to Saussure – are still considered to be the bedrock of sociology and sociological enquiry. Each chapter examines a different key thinker and applies their work to a recognisable aspect of popular cultural, showing how the central issues underpinning classic social thought - class, conflict, gender, power, ethnicity, and social status - can still be readily observed within the modern global world. Encouraging the reader to critique and reflect upon the ways in which classic social theory applies to their own worlds, this is the perfect antidote to dry social theory explanations. It is an eye-opening read for all students and scholars across the social sciences. (shrink)

In this article, it is argued that existing democracies might establish popular rule even if Joseph Schumpeter’s notoriously unflattering picture of ordinary citizens is accurate. Some degree of popular rule is in principle compatible with apathetic, ignorant and suggestible citizens, contrary to what Schumpeter and others have maintained. The people may have control over policy, and their control may constitute popular rule, even if citizens lack definite policy opinions and even if their opinions result in part from elites’ efforts to (...) manipulate these opinions. Thus, even a purely descriptive, ‘realist’ account of democracy of the kind that Schumpeter professed to offer may need to concede that there is no democracy without some degree of popular rule. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

This paper reconsiders explanations of ‘popular’ Buddhism in Thailand initiated in mid-twentieth century anthropological definitions of vernacular articulations of religiosity in village settings. Buddhist localism, in its various manifestations, is seen to contrast with a doctrinal or literate ‘great’ monastic tradition. In this persisting ethnographic argument, an actor may draw randomly on various syncretic elements of their religiosity according to circumstances (an historical complexity which is sourced in a mix of Sinhalese-sourced Buddhism, animism including magic, and folk Brahmanism). It is (...) therefore not wholly or consistently one, but substantively divided into several strands. This long-standing position is problematic as the paper shows. There are multiple coextensive Buddhism/s (plural) within the Greater Theravada tradition, which emerge from an identification of the actors themselves with the one, not the many, as one-unitary-Buddhists. I theorise using a general framework of Meillassoux’s discussion on contingency and, by way of contrast, taking Deleuzian ideas on multiplicity. It is grounded on an understanding of popular or organic lived religion sourced in the early counter-enlightenment or radical enlightenment thinking of Giambattista Vico. Here, it is argued that in Thailand villagers would identify cosmologically as the one, not as the many (in a sense as in the assemblages or varieties of religious practices detached from the totality of the cosmological unitary one). Understanding the creative processes behind cosmological multiplicities is a starting point, with the notion that within specific cultural forms we are faced with a multiplicity of definitions and things to observe, as in an understanding of the varieties of lived Buddhism. The essay is based on an ethnographic assessment from over three decades of field research among ethnic Thai Buddhists at various modalities and settings, and in framing these vernacular religious practices and their ontologies. My gratitude to two anonymous reviewers for their constructive comments. The essay does not deal directly with specific ethnographic case studies; instead, it is intended as retheorising representations of ‘Popular Buddhism’ in Thailand as based on early scholarship since the 1960s (where Buddhism is constituted as three or more distinctive but intertwined religious strands). (shrink)

This paper is concerned with the ethics of popularizing moral philosophy. In particular, it addresses the question of whether ethicists engaged in public debates should restrict themselves to acting as impartial informants or moderators rather than advocates of their own moral opinions. I dismiss the idea that being an impartial servant to moral debates is the default or even the only defensible way to publicly exercise ethical expertise and thus, to popularize moral philosophy. Using a case example from the public (...) debate about the human use of nonhuman animals, I highlight the benefits and risks of endorsing an advocate’s and a teacher’s or moderator’s role, respectively. I argue for a general requirement of judgment transparency which entails that the publicly engaged philosopher ought to be clear and consistent about the type of role she takes on, her publicly advanced opinions generally ought to be her professional ones and that she ought to flag her private opinions. I finally show that, despite general concerns about conflicts of interest, exercising ethical expertise and engaging in advocacy, i.e., acting as if one were a moral expert, are not incompatible modes of public engagement for the moral philosopher. (shrink)

Building relationships is crucial for satisfaction and success, especially when entering new social contexts. In the present paper, we investigate whether attempting to improve others’ feelings helps people to make connections in new networks. In Study 1, a social network study following new networks of people for a twelve-week period indicated that use of interpersonal emotion regulation (IER) strategies predicted growth in popularity, as indicated by other network members’ reports of spending time with the person, in work and non-work interactions. (...) In Study 2, linguistic analysis of the tweets from over 8000 Twitter users from formation of their accounts revealed that use of IER predicted greater popularity in terms of the number of followers gained. However, not all types of IER had positive effects. Behavioral IER strategies (which use behavior to reassure or comfort in order to regulate affect) were associated with greater popularity, while cognitive strategies (which change a person’s thoughts about his or her situation or feelings in order to regulate affect) were negatively associated with popularity. Our findings have implications for our understanding of how new relationships are formed, highlighting the important the role played by intentional emotion regulatory processes. (shrink)

In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers and prosumers (...) do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations. (shrink)

The studio/label as auteur -- Gender and degrees of popular music authorship -- The singular and collective : the writer as auteur -- The interpreter as auteur -- The producer/re-mixer as auteur -- The Zeitgeist as auteur : contexts, scenes & technologies -- Coda : the seeker and the sought.

Popular science in Nuremberg at the end of the 18th century exemplifies a little known German scientific culture: as in English und French towns, public lectures in natural philosophy and experimental demonstrations were offered to an interested bourgeois audience; the production of scientific toys flourished. The career of Johann Konrad Gütle, private teacher, itinerant lecturer and instrument maker, illustrates the popular scientific scene in Enlightenment Nuremberg.

The common assumption is that works of popular are less serious, less artistically valuable. Popular art is driven by a profit motive; real art, high art, is produced for loftier goals, such as aesthetic appreciation. Further, popular art is formulaic and gravitates toward the lowest common denominator. High art is innovative. It enriches, elevates, and inspires; popular art just entertains. Worse, popular art inculcates cultural biases. It is a corporate tool of ideological indoctrination, making contingent social and economic arrangements seem (...) necessary. Or so the common view holds. In light of these common assumptions, we must ask just what marks the distinction between high art and popular art? Is there really any important difference at all? Is there reason to think that popular is by its very nature aesthetically inferior to high art? In this article, I consider some of the prominent answers to these questions. The discussion is organized around questions concerning two general topics: (1) the nature of popular art, and (2) the putative aesthetic deficiencies of popular art. (shrink)

Efforts to diffuse useful knowledge on the part of dedicated social reformers, enterprising publishers, and vigorous voluntary associations created new forms of popular literature in the urban centres of Paris and London during the middle decades of the nineteenth century. Popular science periodicals, especially, embodied the aims of the advocates of cheap literature, by providing ‘improving’ information at prices low enough to reach readers who might otherwise purchase potentially dangerous political tracts. Besides promoting social stability, popular science periodicals served to (...) answer the needs of diverse increasingly literate, leisured, and well paid social groups.From their inception, through their evolution over half a century, periodicals in London and Paris mirrored these similar commitments and concerns of their creators. Continuous imitation back and forth across the Channel indicated just how closely English and French editors shared common programmes. Yet despite the similar aspirations of their promoters, popular science periodicals in England and France revealed the outlines of two very different low scientific cultures, shaped by the dissimilar characteristics of their audiences, editors, and high scientific communities. (shrink)

En este artículo se analiza la relación entre el proceso de laicización o secularización de lo religioso y el crecimiento de los rituales de religiosidad popular en el contexto de las sociedades modernas contemporáneas a partir de un análisis etnográfico del ritual de la Semana Santa de la ciudad de Huelva. Haciendo uso de una metodología etnográfica de corte cualitativo, imbricada con técnicas de investigación cuantitativas de carácter sociológico, ponemos sobre análisis las significaciones religiosas e ideológico políticas de actores que (...) participan y producen este ritual religioso popular, en atención a la diversidad y el pluralismo de ideas que se ponen en juego en torno a la Semana Santa y a la relativización de valores, creencias y prácticas que la hace posible. Asimismo, se analizan las características antropocéntricas y antropomórficas que permean el ritual y la relación colectiva con los iconos religiosos. (shrink)

O presente artigo apresenta uma pesquisa sobre o que a instituição católica entende por piedade popular, tendo como base o Diretório de Piedade Popular e Liturgia, para em seguida, abordar o tema piedade popular mariana, com suas características próprias, como sentimento via cordis, exuberância, expressividade, vitalidade e caráter maravilhoso, e analisar a postura do catolicismo oficial, diante dessa maneira de vivenciar a fé. Posto isso, pesquisou-se o culto mariano, tendo como horizonte a exortação apostólica Marialis Cultus, de Paulo VI, que (...) contém orientações, como bíblica, litúrgica, sensibilidade ecumênica e antropológica, para promover uma genuína reforma da veneração a Maria. (shrink)

This paper contributes to the Business Ethics literature by unpacking the multimodal construction of moral narratives in popular culture and its portrayals of organizations and organizational roles. Understanding such portrayals and their construction is crucial to Business Ethics scholarship because they shape organizational imaginaries, influencing understandings and expectations of the ethical/moral responsibilities of organizations and the actors within them. In particular, we study the construction of moral narratives within a reality TV show that focuses on immigration and border control at (...) an airport. We find that the immigration officers are depicted as rational and heroic figures whilst the travellers are presented as emotional and potentially dangerous characters. Our analysis highlights how this is achieved via five multimodal editing dimensions—the structure of interactional scenes, the ability to address the camera, the narrator’s comments, the visual and music effects—that are key in constructing clearly defined personae. We show how, through the intersubjective construction of clear-cut characters, the show downplays the moral complexity of its content. Portraying immigration officers as heroic, while presenting travellers as potentially dangerous, allows for a silencing of any ethical questioning of immigration officers’ organizational practices. (shrink)

In recent years, the image of biotechnology has been transformed from one of danger and uncertainty to one of opportunity and familiarity. This article explores the process of issue definition by examining the efforts of private interests and public officials. An analysis of interview data, public documents, and other sources reveals four methods of issue definition: establishing the "biotechnology industry" as a collective voice, forging alliances with established public and private interests, associating biotechnology with popular issues on the policy agenda, (...) and discrediting opponents and critics of biotechnology. These methods of issue definition reveal the importance not only of defining a specific issue but also of influencing the context in which it is considered. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

This article investigates the relationship between popular sovereignty, populism, and deliberative democracy. My main thesis is that populisms resurrect the polemical dimension of popular sovereignty by turning “the people” against the “powerbloc” or the “elite”, and that it is crucial thatthis terrain not be ceded to authoritarian distortions of this basic contestatory grammar. Furthermore, I contend that populist forms of politics are compatible with a procedural and deliberative conception of democracy. Ifirst engage with the assumption that populism and a procedural (...) model of democracy are incompatible, demonstrating that this assumption relies on a conservative bias which tiesthe exercising of communicative power to a “duty of civility”. I then engage with radical-democratic reconstructions of the procedural notion of popular sovereignty which emphasize the unleashing and diversification of peoplehood in communication circuits and the mutual permeability of constitutional politics, parliamentary legislation, and the public sphere. Thirdly, I conclude that populisms are an essential part of communicative power in modern democracies and part of its dialectical structure. (shrink)

Iberian repertorios de los tiempos stemmed from Medieval almanacs and calendars. During the sixteenth century significant editorial, conceptual and material changes in repertorios incorporated astronomy, geography, chronology and natural philosophy. From De Li’s Repertorio (1492) to Zamorano’s Cronología (1585), the genre evolved from simple almanacs to more complex cosmological works which circulated throughout the Iberian-American world. This article claims that repertorios are a form of syncretic knowledge rather than “popular science” by relying on the concept of “knowledge in transit”. Elaborating (...) on this perspective, I present how repertorios ended up delivering a worldview from existing materials, a fact so far unnoticed by scholarship. At the same time, repertorios should not be considered an exclusively Iberian phenomenon, but the full scope of their nature as a form of syncretic knowledge should include their networks with migrants, indigenous, mestizos, and criollos across the Atlantic. In this sense, I try to trace the paths connecting productions in the Americas with Iberian repertorios. (shrink)

ABSTRACT In what ways can the study of science and popular culture in the American context contribute to ongoing debates on popularization and popular science? This essay suggests that, for several reasons, attention to the antebellum era offers the most significant opportunity to realize more sophisticated understandings of science in American popular culture. First, it enables us to take advantage of comparative opportunities, both by benefiting from the advanced state of historiography for Victorian popular science and by engaging with (...) a generation of historiographic innovations by scholars in U.S. history, American studies, literature, and art history. Second, the emergence of popular science in the context of the republican ethos of the antebellum period provides an important vantage point from which to assess the extent to which the general issue of “popular science” and its cognates is historically variable and multiple in terms of the politics of knowledge. Third, the ramifications of the development of popular science for relations between science and the public well into the twentieth century cannot be understood until we gain a more clearly developed sense of the emergent period. (shrink)

El artículo se estructura en torno de tres tópicos que se proponen como aportes a la agenda y los debates sobre extensión crítica. Por una parte, los movimientos populares, su papel en las nuevas realidades latinoamericanas, sus formas de construcción y su carácter de sujetos centrales para la extensión. En segundo lugar, se analizan las funciones sustantivas, a partir de lo que llamamos la densidad epistémica o los desafíos de conocimiento de los movimientos y se analiza la propuesta de diálogo (...) de saberes en relación con esa densidad epistémica. Por último, compartimos algunas reflexiones acerca del diálogo de saberes desde la perspectiva metodológica, retomando los aportes del Educación Popular. (shrink)

This collaborative volume offers the first historical reconstruction of the concept of popular sovereignty from antiquity to the twentieth century. First formulated between the late sixteenth and mid-seventeenth centuries, the various early modern conceptions of the doctrine were heavily indebted to Roman reflection on forms of government and Athenian ideas of popular power. This study, edited by Richard Bourke and Quentin Skinner, traces successive transformations of the doctrine, rather than narrating a linear development. It examines critical moments in the career (...) of popular sovereignty, spanning antiquity, medieval Europe, the early modern wars of religion, the revolutions of the eighteenth century and their aftermath, decolonisation and mass democracy. Featuring original work by an international team of scholars, the book offers a reconsideration of one of the formative principles of contemporary politics by exploring its descent from classical city-states to the advent of the modern state. (shrink)